Another intellectually stimulating release from Cold Spring has been signed by one of the most active memebers of the open cultural association "Die Neue Runde"- a group of artists, musicians and poets whose fellowship stands on the research of a new form of "spiritual art", whose starting point seems to be the refusal of the most opprobious products of the crossbreed between modern secularism and popular culture -, German 4-piece ensemble, founded by Cornelius Waldner, Sagittarius, whose third album "The Kingdom Come" focuses on the "intellectual milieu" around German poet Stefan George, who was erroneously considered a miliar stone and a sort of national poet till the subjugation of his poems to propagandist aims by Nazi regime (for instance, "wer je die flamme umschritt/bleibe der flamme trabant!", the opening lines of his "Der Stern des Bundes" became a sort of mantra for the Hitler Youth ) - even if his poetry emphasized heroism, power, self-sacrifice, sublimation of eternity, rejection of middle-class values and Ancient Greek culture's glory and his poetizing was based on a form, which was rich of obscure symbolic references and arcane, but rigorous and neat at the same time, he rejected awards and public offices by Nazis and decided to settle in Switzerland in order to assert his extraneousness to German National Socialist government's distorsions of his poetry -. The title itself refers to this eminent poet's project: Stefan George considered himself a sort of prophet of a kingdom that would be led by cultural elites and founded an intellectual circle of acolytes who considered him a sort of messiah, called George-Kreis, which attracted important people such as Rainer-Maria Rilke, Ernst Kantorowicz, Karl Wolfskehl, Klaus Mann and Claus von Stauffenberg - who was supposed to plot the murder of Hitler indeed! -. Musical wrap for recitation of a carefully selected bunch of poems - I particularly appreciated the duet between Fraulein Konig and Her Twiggs for Yeats' "The Song Of Wandering Aengus" as well as the melting recitations of Ernst Morwitz's "Grabgedicht III" and Karoline von Gunderrode's "Ist Alles Stumm Und Leer", Uuno Kailas' "Uni Ja kuolema", Goethe's "Der Konig In Thule" and George's "Das Wort" - is quite similar to the style they got into shape on "Songs From The irony Tower", an entrancing crossbreed between neofolk, classical and medioeval music with simple but well-built melodies. many listeners could find them quite monotonous, but it would be a stock feedback, as it could come from that consumeristic concept of entertainment they probably disgorge whereas the only real obstacle for a complete appreciation of their work could stand on the troublesome understanding of German language.